Sonnet 132 Storyboard

Sonnet 132 Storyboard

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Storyboard Text

  • Opening Shot
  • Thine eyes I love, and they, as pitying me,
  • Knowing thy heart torments me with disdain,
  • The shot begins with very vibrant colors, giving more of a happy feel. I plan on placing the main stuffed animal on top of a plain surface, bringing focus to that specific stuffed animal. I also plan to use a little bit of post effects to emphasize the specific stuffed animal, and contrast it from other stuffed animals around it. This first shot will all appear organized and clean. I plan on distancing the other stuffed animals from the specific stuffed animal in order to give more of a separated feel. The specific stuffed animal will also have a ribbon tied around it.
  • Have put on black and loving mourners be,
  • With the camera positioned behind the specific stuffed animal, more of the room can be seen. The room is clearly well-organized, and all the colors are still very vibrant and bright.
  • Looking with pretty ruth upon my pain.
  • The camera moves over to a darker corner, and a few stuffed animals are out of place, and not following the perfect order that the rest of the stuffed animals are in. The colors are not as vibrant here, almost dark and gloomy. A clear difference can be seen between these stuffed animals and the other, perfect stuffed animals. 
  • And truly not the morning sun of heaven
  • The camera returns back around the specific stuffed animal, with the dark corner in the unfocused background. The color is nice and vibrant, but not as vibrant as it was in the opening shot. It feels as though something is a bit off, just very slightly, but everything is still perfectly normal.
  • With the camera still in the same position, it is now focused on the dark corner, with the perfect stuffed animals in the foreground but unfocused. 
  • The camera pans over to the bright sunlight coming through the window. When it pans out of the sunlight, the camera is now in the car, with the specific stuffed animal strapped in, all perfect. There is nothing in shot except the car seat, the car door, the car window, the seat-belt, the stuffed animal, and the sunlight. The stuffed animal is clearly in the foreground, and the light can be seen brightening and darkening in the background as the car moves. It's all in slow motion, but after a little bit it speeds up to a time-lapse.
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